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IMPROVISATION
Extra XP - - - exposition - preperation - improvisation - direction - production . Here goes stuff like: . Most of the time when you need to use your Improvisation skills, you will need to handle something unexpected, 'on the fly', i.e. your prep will have left you, and you need to make some quick choices right now, mid-game, with very little time to ponder. (Unless you interrupt the session for it, e.g. for a food break, or by switching to another scene in order to get more time to think on the problematic bits in this one.) . Types of Unexpected Situations: * dice rolls screwing up the expected course of the plot (e.g. by creating bottlenecks, walls, or pits) * reacting to unforeseen player actions (players go look for one of their old highschool friends - you never much thought about this NPC before, but now you need her to exist, pronto!) * combat and other action scenes (no plan survives first contact with the enemy - which is why you can prepare enemy tactics, stats, and whatnot - but you'll still be improvising in combat, a lot...) . How to Handle the Unexpected: * roll with it * stall * block * pause or break off the session see Alegz' Guide to Handling the Unexpected for detailed discussion of when to use these (and some other) options . Techniques: . Making Quick Choices Mid-Game * ask your gut feeling * ask your prep * ask your NPCs * ask the setting * ask the players * ask some dice... * ...or stall, redirect, delay, pause... . Inventing New Stuff at the Drop of a Hat When prompted to invent something right there at the table with everyone looking at you expectantly, go through the list for Making Quick Choices, above. If you're still at a loss, and don't decide to stall, redirect, delay, or block either, perhaps best to call for a five minute break and consider the following options: * use something else you already have (instead of their old highschool friend, they find the current highschool bully... who you happen to have prepared rather well) * ask someone/everyone to donate ideas (go around the table asking every player to describe something about their old friend, or state one expectation they have of the meeting with her) * give them what they want (they could simply find the friend, get what they need off her, and be done with it, no need for lengthy interaction or pondering) * give them a chance to get what they want, but at the cost of a little side quest (the friend might be in trouble with a pesky landlord, an unruly teenage son, or something else that readily suggests the characters helping her out a little) * throw them a curveball (they could still get what they want, but it ain't gonna be easy - the friend might be in trouble with the supernatural somehow, got thrown into a high security prison for a few years, or is off in the Amazon rainforest fighting deforestation companies for mother nature...) The first one here is really a cop-out. You avoid inventing something new, and instead give them something that already exists (if only in your Prep). Sometimes the players will notice it (such as in the schoolbully example above), sometimes they won't, such as if you use the "helpful but desperate waitress" you have prepared for another situation as a template for the "old school friend" they are looking for now. In such a case, the players may never know you "tricked" them. And you can always invent something new around this Waitress Side Plot when the time for that comes. The second one is really just a disguised way of asking the players for input, while giving you time to think and sort out your options. It stays true to Always Listen to Your Players and Don't Do Everything Yourself, and is thus a good opportunity to exercise these two principles. Whatever info or expectations they give you, from "i remember she had that blond ponytail that made her look so cute" to "there were once rumors that she got expelled from the cheerleading squad for allegations of drug abuse" or "i hope she isn't still mad at me for that one time back in 12th grade...", you can use this, to get inspired, or just add details. The third one can be borderline glossing-over, but there are situations when that can be totally okay. You just describe the NPC in question briefly, without much depth or inspiration put into it, let them get their thing done, and return to the main plot. This can feel disappointing in cases where one or more players have had certain expectations of the scene, and didn't get them fulfilled. On the other hand, there are situations in-game when no one is overly invested, and this can be a completely viable route to go. The fourth and fifth ones here are where you are really allowing yourself to get sidetracked. It will mean more effort (in Prep and/or Impro terms) for you, but giving your players something actually interesting ''to do on their side quest can make for very satisfying additions to the campaign's story. Be careful not to overdo these, especially with the fifth type, which can tend to really derail a chronicle if not handled carefully (or else is perhaps just a really elaborate way for the GM to stall and delay the issue). If more than, say, about every other NPC they meet requires a little side quest of them, things can get dense pretty fast and the game may eventually bog down under too much ongoing plot elements. Progress of your main story (if any) will be slowed if you use these. On the other hand, cool new elements may come up that enrich and even improve upon the preconceived story, so don't be afraid to at least consider these options from time to time. . '''Letting Go of Your Best-Laid Plans' (sometimes, saying "meh" is really not so easy - but may it be necessary for the greater enjoyment of all?) ...